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Crash: Director's Cut (US - DVD R1)

I have to wonder if I'm in anti- Crash territory when absent on the site is a review of the initial DVD release and present are heated discussions in the forums about it's inferiority to Brokeback Mountain. My personal take on the matter is that most people cannot objectively compare the films without comparing the social agendas contained within them. Audience's love/hate relationship with Crash was only worsened when the film took home the Oscar for Best Picture at the Academy Awards, a victory that I was cheering on. I must confess, I was an instant fan of this gem on opening weekend when it was playing in less than 200 theatres. A little over a month later, it would be projected onto nearly 2,000 screens by a slowly building hype and word of mouth. Oddly enough, the last two sentences can also be said about Brokeback Mountain, but I ramble.

Feature

(first line of the film) "It's the sense of touch. In any real city, you walk, you know? You brush past people, people bump into you. In L.A., nobody touches you. We're always behind this metal and glass. I think we miss that touch so much, that we crash into each other, just so we can feel something."

To give a thorough plot synopsis for Crash would be to spoil the film, entirely. The line above should give you a fair idea of what the picture is about. Where many movies on racism deal primarily with black and white relations, Crash takes a more encompassing view at post 9/11 America by trying to paint a picture with a larger ethnic brush. Think back to Spike Lee's Do the Right Thing and you'll have a film in the same ballpark as Crash. although drastically different in style and presentation. Just like in Do the Right Thing , there are no heroes in Crash and there are few villains that are entirely villainous. Another similarity is that they both (mostly) focus on the events of one life-changing day, from morning to night.

What interests me about Crash is how different the impressions are that it leaves on people. I've had friends gawk at the ending for being too happy and neatly tied up. When I watch the film, I see no happy ending as the characters still carry the same racist views, the same hatred in their hearts. As the day ends, I believe the viewer isn't supposed to see a happy ending, so much as a hopeful ending. Nothing is guaranteed that these characters will try to live their lives without racism, but we should hope that they will. This is where I applaud Crash, for being an inspiring picture that in it's own way, is a message for tolerance.

A good heart and noble message aren't enough to win a film an Oscar, so what else could've made Crash so great? Writer/director Paul Haggis has filled his movie with one of the most amazing ensemble casts in years, several going against their own typecast. My favourite duo of the movie was Brendan Fraser as the district attorney of L.A. and his incredibly racist wife, Sandra Bullock, both in surprisingly great performances. After those Mummy and Ms. Congeniality flicks, I had completely forgotten that these two could actually play the edgier roles when given the chance.

The director's cut includes an insert featuring a word from director/writer/editor Paul Haggis. His opening line is "It is difficult to call this a director's cut..." He is absolutely right; it's difficult to even call this film an extended cut, although that would've been more fitting. How much more do we get here? Brace yourself; you get a whopping two minutes of additional footage. Beware; if you don't have the theatrical cut fresh in mind while watching this, the added material will easily slip you by. Haggis continues in his insert that he feels he cut the theatrical print a "tad too tight"... and this footage loosens things up? I can't say for sure, but I'm hoping Lionsgate threw Haggis a roll of twenty's and said "give us a director's cut DVD, this film is about to get nominated for best picture." I also can't figure out why this DVD isn't more extended than it is, having eight deleted scenes housed on the second disc, several of which I would've liked to have seen in the film.

In conclusion of my thoughts on the disc's feature, Crash is a great film with or without these nearly-pointless two minutes of added footage. The question of why they were cut is almost as arbitrary as the question of why they were added back in. Nonetheless, the feature is great.

Video

Just like with last go-around, Crash is presented in 2:35:1 anamorphic widescreen and looks just as good as you would expect a Best Picture winner to look. The video is very sharp and its colours were vivid and bright. For a low-budget film, Crash looks exquisite at all times of the day, in all types of lighting. I couldn't think of a better film to give such a great transfer to, as Crash is visual eye candy all by itself (transfer aside), from it's out-of-focus transition shots to the cinematography of L.A. at night.

Audio

This disc gets it right, to say the least. The audio of Crash is just as impressive as its video. Take your pick from 6.1 DTS-ES (pick that one!), 5.1 Dolby Digital Surround EX, 5.1 Dolby Digital and 2.0 Dolby Digital. The extended surround sound track absolutely puts you inside the film. The atmospheric and ambient score by Mark Isham flows from all tracks gorgeously as do the sound effects. Dialogue came mostly from the centre channels, never becoming difficult to pick apart from the other sounds. Crash sounded good last time but those tracks don't come close to what we're given here. Be proud, Lionsgate... you did good.

Extras

This is most likely where you're going to get your money's worth as the initial DVD release was intellectually bare, despite a promotional featurette among other items. The only thing you're going to miss from that disc is the theatrical cut's commentary which is nearly the same as this commentary, only a little less humorous. Both commentaries feature Paul Haggis, producer Bob Moresco, and actor Don Cheadle.

The first entirely new feature is a handful of eight deleted scenes, which I have quarrel with. The first deleted scene is actually about six seconds of new footage padded with over two minutes of footage from the movie. Why did we get the entire scene rather than just the new six seconds? This is the story of several other deleted scenes. They come with commentary and several of which, despite Haggis' argument, should've been left in the film. One of them even shows us a relationship between two characters that both cuts of the film don't reveal.

Next up is ‘Behind the Metal and Glass’, a making of Crash feature. It runs nearly half an hour in length and gives more information than you're typical ‘talking heads’ featurette. We get a fair balance of interviews from both the cast and crew on the production, focusing due attention of the movie's conception. Overall, this is an entertaining and informative feature.

‘On Paul Haggis’ is five minutes of said director telling his story of coming to Hollywood and his journey to getting the movie made. Haggis isn't exactly the most charming personality to watch expound upon the film, but he has good things to say. If it doesn't bore you to death, this feature can give you insight on the director's life.

‘L.A.: The Other Main Character’ is a very interesting feature about the setting of Crash. Narrated by actress Thandie Newton, a good mix of filmmakers and city personnel, including the mayor, talk about the condition of L.A. The cast and crew point out how Los Angeles isn't the city of unimaginable wealth, as it's often portrayed in films and on television... but rather a city of gigantic social boundaries. Everyone who speaks here brings interesting commentary to the table. Overall this is a very informative and thought-provoking feature, especially for someone like me who's yet to venture to L.A.

‘Unspoken’ is a feature concentrating on what the movie says about racism, that's often left unsaid by being a country of political correctness. This is where I realized the cast weren't just treating this as another acting gig, but had actually invested themselves into the message of Crash. Sandra Bullock, Ryan Philipe, and even Chris ‘Ludacris’ Bridges have some really strong ideas on the film to say here. At eleven minutes, this is a very enjoyable feature.

Now for the small items, a music video by Bird York is actually nothing more than clips from the film set to music. The singer makes no appearance in the video and ultimately, I felt cheated by this. We have two music montages which are pretty self-explanatory. Also included is a script to screen comparison and a storyboard to screen comparison (previously available as a bonus disc if you bought the original Crash from Best Buy.)

Overall

I have no faults with Crash, which may show my faults as a reviewer. Aside from the misleading title of director's cut, this is a superb release of the film. There's more than enough material here to warrant an upgrade from technical quality to bonus materials.

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Worst Nightmare wrote: Eliason A. wrote: you decided to hate Crash, without rewatching ithuh? How would this change someone's opinion of a movie? If I think a movie is rubbish, I won't watch it again. If it was mediocre, then it may warrent a re-watch.

What he is saying (at least what I got out of it) was that CryptKeeper loved Crash on first viewing, then saw Brokeback Mountain and now hated Crash.

So there is a bit of logic there in how you go from loving a movie to hating a movie by seeing another movie and not rewatching the original movie that you now hate.

Eliason A. wrote: you decided to hate Crash, without rewatching ithuh? How would this change someone's opinion of a movie? If I think a movie is rubbish, I won't watch it again. If it was mediocre, then it may warrent a re-watch.

CryptsKeeper wrote: It had a good idea, but I've gotta be honest with myself here: It was a massive disappointment. It was shallow and ridiculous, and not even close to deserving the Best Picture Oscar. You really have to wonder why it was picked, and I doubt it won for its merit.

Oh, pffffft, nice façade you've got going on here, Dack. Way to lie to everyone. You loved the film. Then got seduced to Brokeback Mountain and turned gay. Not only that, you decided to hate Crash, without rewatching it, and just because of its Oscar win. Now you're trying to sound intelligent by rebelling against Crash. Give it up, man, you're a fraud.

I loved Crash. I`ve seen all of the best Picture nominated films(BB, GNAGL, Cpte, Mnc) but IMO, Crash had the greatest impact. To me, it was the fourth best film of the year, next to Sin City, A History of Violence, and Walk the Line, but still it was an extrodinary film. I know it will be in my mind for a long, long time to come. That said, I won`t be upgrading to the DC since I have the original release, and there I many other films out on DVD that I want to own.

I'm finally watching Good Night and Good Luck tonight, I'd not cared a lick about Crash until the Oscar win. I like to compare my choice (Munich) to the others I haven't seen (ALL of them) before I try to make an educated comparision.

ronically, the movie was apparently about racism but the moments containing views on racism were the least appealing moments in the film.

I really enjoyed the more human moments such as the locksmith with his daughter under the bed, Don Cheadle speaking with his mother. The moments containing racism weren't exactly subtle like Do the right thing or Boys in the hood. I'll pass on the directors cut considering I have the dvd and I can also watch it on demand. A good best picture winner although Munich was the best film.

Adrian wrote: I'm not sure that I really believe that Matt. Think, Guess Who's Coming to Dinner when it was released in the 60s. There are just as many, if not more, differences as there are similarities when comparing race and homosexual social issues over the years, so if you're comparing Guess Who's Coming To Dinner with Brokeback Mountain I'd agree with that up to a point, but the differences are too many to say that these films are similar in anything other than the very slightest of ways.

Anyway, this is supposed to be a thread on Crash, which since I've been too lazy to watch more than twenty-minutes of as of yet I'll reserve further comment in this thread until I've seen that particular movie.

It had a good idea, but I've gotta be honest with myself here: It was a massive disappointment. It was shallow and ridiculous, and not even close to deserving the Best Picture Oscar. You really have to wonder why it was picked, and I doubt it won for its merit.

Matt wrote: Not really...there are a lot of complications due to their releationship that create the conflicts that drive the story along, the type of conflicts that a typical man-woman love story just wouldn't have.

I'm not sure that I really believe that Matt. Think, Guess Who's Coming to Dinner when it was released in the 60s.

Gabe Powers wrote: From what I understand it (Brokeback Mountain) was just a love story with men instead of a man and a woman. Not really...there are a lot of complications due to their releationship that create the conflicts that drive the story along, the type of conflicts that a typical man-woman love story just wouldn't have. I watched it this weekend with the Kris since she went out and bought it and thought it was okay but nothing great; Lee's had better movies that haven't received nearly the same amount of hype.

Matt wrote: B B wrote: How many people will pick The Shawshank Redemption over Forrest Gump? Lots of them. I could imagine more people would choosing Pulp Fiction which, even though Forrest Gump and The Shawshank Redemption are fine films, is superior to both.

Only reason why I did not mention Pulp Fiction is that it is almost like a franchise, it is definitly superior to both films, but to Shawshank, only slightly. As a matter of fact, Pulp Fiction is so good it didn't even need to win Best Picture at all. Though, that would have looked even nicer on it's resume.

B B wrote: Adrian wrote: I think Crash was a far better movie than Brokeback Mountain. I've said it before, and I'll repeat it here, there was absolutely nothing unique about Brokeback Mountain except for the homosexual angle.

Well we have seen movies before to about racisim and people coming together in strange ways. What made Brokeback Mountain unique was that it's more than just a "gay" love story. It's actually a film about a man, Ennis Del Mar, played masterfully by Heath Ledger. It's a powerful and perfect film from start to finish with beautiful cinematography and score, and great acting.

I thought Brokeback was great, but it's just another sweeping romance that we've seen every year for Oscar time.

B B wrote: How many people will pick The Shawshank Redemption over Forrest Gump? Lots of them. I could imagine more people would choosing Pulp Fiction which, even though Forrest Gump and The Shawshank Redemption are fine films, is superior to both.

B B wrote: It's actually a film about a man, Ennis Del Mar, played masterfully by Heath Ledger. It's a powerful and perfect film from start to finish with beautiful cinematography and score, and great acting.

If masterfully played by Heath Ledger means played by Heath Ledger talking like he has a mouthful of marbles the entire movie, I might agree with you; otherwise, I thought Ledger was the worst part of the movie. Half the time, I couldn't truly understand what he was saying.

Movies are all about opinions. If you make Ledger's wistful love a female in this movie, you have just an oridnary movie. You can't take the race angle out of Crash and actually have a movie.

Adrian wrote: I think Crash was a far better movie than Brokeback Mountain. I've said it before, and I'll repeat it here, there was absolutely nothing unique about Brokeback Mountain except for the homosexual angle.

Well we have seen movies before to about racisim and people coming together in strange ways. What made Brokeback Mountain unique was that it's more than just a "gay" love story. It's actually a film about a man, Ennis Del Mar, played masterfully by Heath Ledger. It's a powerful and perfect film from start to finish with beautiful cinematography and score, and great acting.

Not to get too far off topic, but I always find it amazing when people accuse Hollywood of being "homophobic" for not choosing Brokeback Mountain. Is everyone ignoring the fact that there are many homosexuals working in Hollywood? Just curious.

I think Crash was a far better movie than Brokeback Mountain. I've said it before, and I'll repeat it here, there was absolutely nothing unique about Brokeback Mountain except for the homosexual angle. We have all seen unrequited love stories done far better than Brokeback Mountain. After the first 20 minutes (when they left Brokeback Mountain), I was completely bored for the rest of the film.

As a film buff I still believe that Brokeback Mountain was the best film of 2005. I love Crash and bought this 2-disc DC, but with time Brokeback Mountain will be hailed as the better film. How many people will pick The Shawshank Redemption over Forrest Gump? Lots of them.

I did make note of the commentaries, first paragraph of the extras section. I didn't feel this one was drastically different enough to warrant a lot of detail. Haggis and Moresco dominate the track, with Cheadle getting a few comments in between them. Their reaction to scenes is very similar to last time as are the gaps of silence in scenes.

Nice review Dustin but did you forget to upload/write about the commentary? I understand it's essentially the same commentary but with new bits when relevant chopped in?

Quote: My personal take on the matter is that most people cannot objectively compare the films without comparing the social agendas contained within them. You have a point but for me at least and unfounded one Brokeback Mountain as a film is simply vastly superior in pretty much every way. If the Oscar panel weren't so homophobic it was would've one the Best Film Oscar, it's essentially what they are. Maybe not outright homophobic but to be scared of such subjects as they make you uncomfortable is a minor form of homophobia.

I enjoyed Crash when I saw it on DVD a few months back, the Thandie Newton scene was powerful stuff but overall I found it far to contrived to have full effect. Haggis really thinks he's teaching us something new. I know X hates Y and A doesn't much like B. To create a film with one racist scene after another got to much.

But yes I did enjoy it. It's well acted, the cinematography is good. I think ultimately Haggis' inexperience as a director shown through.

I own the old R1 DVD and have little interest in upgrading, the film simply doesn't justify a double dip.

The commentary as I said I understand is mostly the same? Of which is the only extra I have any value for and that's on the original DVD. Only 'Behind the Metal and Glass' looks really any good.

2 minutes of material which barely adds anything to the film nor can even be noticed. I "may" end up picking this up when it's cheap but to pay full price no thanks.

Quote: I still think that "Match Point" should have replaced "Capote" in the list, but thats all in the past. You think Jonathan Rhys Meyers should've replaced Philip Seymour Hoffman as Best Actor?

I've yet to see Match Point but Philip Seymour Hoffman performance was so incredible I find it hard to believe anyone else should've one it. That said Capote overall was a disappointment, it was really hard work (not in a good way) and I couldn't help thinking after 20 minutes "okay Philip Seymour Hoffman is excellent now what?".

Picked up the single disc release a couple of months back when the price dropped to around $10, but I still haven't gotten around to watching more than the first twenty minutes though it's on my 'to see' list...which seems to get bigger and bigger each week.

I loved this film ever since I saw it in some little indie theater when no one knew about it. I am so surprised how much attention is has garnered and I am pleased with the Best Picture Oscar win. I would have been happy with either "Crash" or "Brokeback Mountain" but in the end, I do think that "Crash" was the overall better film. The other candidates "Capote", "Good Night, and Good Luck." and "Munich" were all good movies, but not amazing. I still think that "Match Point" should have replaced "Capote" in the list, but thats all in the past. I own the standard DVD of "Crash" and since I'm a poor and going to college I probably wont double dip. But good review overall.

I loved this movie in the cinema and will probably pick up this release. I think the thing that edged it to win the Oscar was the fact that it was set in LA though, which meant it connected with more of the Academy voters.

Will a song by the Stereophonics ever feature in another Oscar-winning film?